If people aren't in sync, things won't work out well.
24 isn't like other shows, where you set the look once and you're done. The show started at midnight, then moved to a pre-dawn look, and now we're at dawn and we're warming up the day.
I wanted to make a film that was sophisticated and emotional, but for a wider audience.
There's no attempt to manipulate the audience. We made our choice at the start.
Each environment has its own signature. Sound tells a story: You make choices about what you're hearing, where to look, how you want to feel about what's going on.
I had no special effects, no monsters running around, nothing blew up; those things are all things I've done so many times that they lose their allure after a while.
Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.